May 6, 2025 • 29 mins
An anthology series presenting original radio plays, showcasing a variety of genres and storytelling styles. Each episode offers a unique narrative experience.
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Speaker 1 (00:01):
This is Radio City Playhouse. Ladies and gentlemen, here's the
(00:26):
director of Radio City Playhouse, Harry W.
Speaker 2 (00:29):
Duncan thank you, Bob Warren. Friends.
Speaker 3 (00:31):
This week we are honored to present a young author
new to Radio City Playhouse, mister John Bethune b E.
Speaker 4 (00:37):
T h U n E. Bethune.
Speaker 3 (00:40):
It is a name we think you will do well
to watch because for brittle and penetrating radio writing, mister
Bethune is in a class by himself. We hope to
present more of his work in the very near future.
The name of our play is Deadline and stars Claudia
Morgan as Marsha Robbins, Paul Nugent as Benson Todd, and
Bernard my grant is Jerry Deadline by John Bethune. Attraction
(01:04):
twenty seven on Radio City Playhoffs.
Speaker 5 (01:35):
Hello, Sphinx Club. Can I speak to Louis in the bar? Please?
What's he doing? Hello Louis? This is Marsha Robins, Marsha Robins,
Benson Todd's secretary. Yes, listen, has mister Todd been in tonight? Well,
if he comes in during the next half hour, will
you tell him I called Louis. It's very important. I
(01:56):
think he's forgotten something, and it's very urgent that I
get hold of him. All right, thanks, goodbye. That's the
way the story began, me chasing Bencentad all over town.
(02:17):
Perhaps you wonder why I don't write a book about Bencentdd. Well,
it's a fair enough question. A book dealing with one
of our more outrageous drama critics would be bound to
have a certain celebrity value of nothing else, and as
a study in advance to megalomania, it might even have
a certain clinical value. But unfortunately it's not quite as
(02:38):
simple as that. In the first place. Having spent five
hair raising years as Benentdd's personal secretary, I find it
rather difficult to viewing with the proper detachment and reverence
of a good biographer. I wouldn't dare write a book
about him, fictional or otherwise. However, there is one rather
(02:59):
illuminating episode in the saga of ventent Todd which I
think I can safely repeat. It happened only last season
on that now famous evening when the Vaughan caught Me
production of Macbeth opened on Broadway. Perhaps you remember it
was a Forgotham theater.
Speaker 6 (03:19):
Will it not be received when we have marked with
blood those sleepy two of his own chamber, and use
their very daggers that they have done it.
Speaker 7 (03:30):
Who dares receive an others as we shall make our
griefs and clamor roar upon his death.
Speaker 6 (03:37):
I am settled and bend up each corporation to this
terrible feat away, and much the time with fairest show.
Speaker 4 (03:50):
Fall's face must hide.
Speaker 2 (03:53):
What's the false heart?
Speaker 8 (03:55):
That?
Speaker 2 (03:56):
No snouting in the.
Speaker 9 (04:17):
Snogging in the hobby?
Speaker 5 (04:19):
My dear, isn't it thrilling?
Speaker 10 (04:20):
Marvelous?
Speaker 5 (04:21):
Simply won?
Speaker 4 (04:22):
I'll give you on it doesn't run away?
Speaker 5 (04:24):
Well, someone gave Bridge something some We've seen everything else,
But didn't you love the dirty old ladies with beers.
Speaker 2 (04:30):
It may be hot stuff in the movies, but on
the stage, Oh brother, but you.
Speaker 5 (04:34):
Must admit his beautiful.
Speaker 4 (04:37):
Because beer another good thing. Shakespeare never lived to see it.
Speaker 5 (04:41):
I can't wait to read the.
Speaker 9 (04:42):
Critical goes one of them now, Benson Todd just going
out the door.
Speaker 4 (04:49):
Bencing today. Boy, I'll bet he gives it a roasting.
Speaker 1 (04:52):
Brother.
Speaker 7 (04:52):
You can say that again, mister mister Wait a minute tree,
excuse me, mister.
Speaker 2 (04:59):
T It happened, by any chance to be speaking to me.
Speaker 9 (05:02):
Yes, yes, I am.
Speaker 7 (05:03):
I I saw you leaving in the theater and I
want to have a word with you. What about Well,
I don't blame you for leaving, mister Todd.
Speaker 2 (05:10):
One act of this thing is plenty, mister Todd.
Speaker 7 (05:12):
I'm missus Vaughan Courtney. Really, I don't blame you for leaving,
mister that once, but I just wanted to explain.
Speaker 8 (05:19):
Moments, Courtney. Did your husband notice my leaving? Did he
send you out to way lamey and.
Speaker 5 (05:24):
Asking me notic you leaving?
Speaker 9 (05:26):
And he'd be furious if he knew that.
Speaker 8 (05:27):
Then I suggest you go back into the theater before
he finds out you're asking me to change my opinion
of his performance.
Speaker 7 (05:33):
I wouldn't think of asking you to alter your opinion,
mister Todd. I know quite well that Vaughn is inadequate tonight.
Speaker 8 (05:40):
Inadequate, My dear missus Courtney, your husband's acting this evening
is inexcusable.
Speaker 7 (05:45):
No, no, not altogether. That's why I followed you out.
You see, mister Todd, for the past few days, Vaughn
hasn't been at all well. In fact, his doctor ordered
him not to go on tonight.
Speaker 2 (05:55):
Then why did he well he had to.
Speaker 7 (05:57):
All the publicity was out, and the advance said, well
that names Vaughn insisted that he goes through with it,
but his stomach's been upset all afternoonly feels wretched and well,
if the opening could only have been postponed a couple
of days, I know one could do a splendid my.
Speaker 2 (06:11):
Dear missus Courtney, this is no concern of mind.
Speaker 7 (06:15):
Yes, yes, I realize that, But mister tidd if you
could just mention something in your review, just a sentence
explaining that Vaughn felt so wretched and had a temper.
Speaker 2 (06:25):
Missus Courtney, I'm about to proceed to my favorite bar
and write a review.
Speaker 8 (06:31):
I have no intention of turning it into a medical report.
It's a matter of supreme indifference to me whether your
husband is suffering from Chilblain's hydrophobia, galloping consumption of opposite.
He's giving an outrageously bad performance of a magnificent role,
and I fully intend to say so good night.
Speaker 7 (06:47):
No, no, please, please, mister Tidier. You don't understand what
this production means to him. It's not just a publicity
stunned in.
Speaker 5 (06:55):
Spite of what people think. V's or Vaughn feels very
deeply about acting.
Speaker 9 (06:59):
He's been studying and planning this night for years.
Speaker 7 (07:02):
It's terribly important to I mean, well, if you were
an actor, you'd understand, now, mister Todd. Couldn't you possibly
come again tomorrow night or the night after?
Speaker 5 (07:11):
I know you'd feel that born with.
Speaker 2 (07:13):
Mister Courtney, I have a deadline to meet.
Speaker 8 (07:16):
You'll have to excuse me. A firtle lobby is no
place to stage your sob scene.
Speaker 11 (07:19):
So if you don't want I should have known that.
Good night, evening, mister Todd.
Speaker 4 (07:43):
Evening guys, I thought you were covering Macbeth tonight.
Speaker 2 (07:46):
One act was as much as I could stand.
Speaker 4 (07:48):
That's so hard. Huh, Well, what will be?
Speaker 2 (07:51):
Same as usual? Please?
Speaker 5 (07:53):
No?
Speaker 2 (07:53):
Better make it a double I beg your pardon.
Speaker 12 (07:57):
Share but uh you're Benson Todd, aren't you?
Speaker 5 (08:02):
Yes?
Speaker 2 (08:03):
Why I thought so?
Speaker 12 (08:05):
I wasn't quite sure. Yes, I hope you don't mind
my budding in like this. But my name is Edgar Fish.
You have my sympathy, thank you. I mean, yes, mister Todd.
(08:25):
I've just been reading your new book.
Speaker 2 (08:27):
You know criteria I seem to recall it. I just
want to say, how much I enjoyed it, thank you.
Speaker 13 (08:32):
Yes.
Speaker 12 (08:33):
As a matter of fact, I think it's the best
book on the American theater that I've ever read.
Speaker 2 (08:37):
Oh yes, yes, I read through it twice. Didn't you
understand it the first time? What?
Speaker 9 (08:42):
Oh?
Speaker 12 (08:42):
Yes, yes, I understood it all right, although there were
one or two points where I didn't quite see eye
to eye with you.
Speaker 5 (08:51):
Yes.
Speaker 12 (08:52):
For instance, in your chapter on the Catharsis of Comedy,
you said that Shakespeare's idea of comedy is insulting to
an intelligence. Oh yes, yes, very pointedly, don't you remember?
Of course, I'll grant you that the values of comedy
are transgent, but the basic elements of comedy haven't changed. Well,
(09:13):
that's why I feel it, my.
Speaker 8 (09:15):
Dear young man. Yes, oh nothing, never mind, gus take
my check out of this.
Speaker 12 (09:20):
Oh, mister Todd, you're not leaving.
Speaker 2 (09:22):
I am, indeed, but I wanted to ask your opinion.
I never express opinions unless I'm paid for it. But
mister Todd, thank you.
Speaker 4 (09:29):
Good night. Guys.
Speaker 8 (09:29):
Can I think but, mister Todd, you young man, the
fact that you happen to have read one of my
books does not constitute an introduction, though, does it?
Speaker 2 (09:38):
Entitle you to bore the pants off me.
Speaker 4 (09:40):
Good night.
Speaker 5 (09:52):
Hello store club, This is Marsha Robbins of the Morning
Chronicle speaking. Can you tell me mister Todd's there? No, no, no,
no to god Benson Todd. That's right. Well would you
find out please? It's very important. Yes, I'll hold on.
Come in beautiful, Oh, Jerry, Well take your flesh somewhere else.
(10:15):
I'm busy.
Speaker 4 (10:16):
Oh come now, sat a way to welcome the man
you love.
Speaker 5 (10:19):
Please, Jerry, I'm in no mood for fun and games plenty.
We go to press early tonight. Well, what so I
haven't gotten mister Todd's copy yet? Why not because he
hasn't come in yet, you dope?
Speaker 4 (10:30):
Okay, okay, don't have to bite my head off.
Speaker 5 (10:32):
Well, don't ask me stupid questions.
Speaker 4 (10:33):
Not asking stupid questions.
Speaker 5 (10:35):
Hello, Yes, he isn't well, has her reservation? I see? Well,
look if he comes in during the next few minutes,
would you ask him to call his office?
Speaker 2 (10:48):
Yes?
Speaker 5 (10:48):
Please, as soon as he comes in. Thanks very much.
Good night.
Speaker 4 (10:52):
What's the matter? Has the critical mind going on the
bat again?
Speaker 5 (10:55):
I don't know, but wherever he's gone, he's certainly hidden
his track.
Speaker 4 (10:58):
Well, if he's covering a play. He could gone asleep.
It's happened before I know.
Speaker 5 (11:01):
But I've checked the theater. He left at the end
of the first height, wouldn't you're not? And I'm hanged
if I can find out where he went?
Speaker 4 (11:07):
Is the rabar near the theater?
Speaker 5 (11:08):
I've tried every brass rail on the forties?
Speaker 4 (11:10):
How about the fifties?
Speaker 5 (11:11):
Well, that's what I'm doing. Now, what's El Morocco's number?
Speaker 4 (11:13):
How would I know? I'm a reporter and not a columnist.
Speaker 5 (11:15):
Well look at that for me, will you. I'm going
to try the partment again.
Speaker 4 (11:17):
Wait a minute, waitait.
Speaker 5 (11:18):
Please, I've got to find I know.
Speaker 4 (11:20):
But listen, if he's left his review till this lady
who most likely folded in, won't he Well he doesn't
usually no, But if he does, and you're on the
wire all the time, how is he going to get
it through?
Speaker 5 (11:27):
I'm supposing he's forgotten all about the early deadline.
Speaker 4 (11:29):
Supposing he has.
Speaker 2 (11:30):
It's not your fault, Oh, isn't it?
Speaker 5 (11:32):
You don't know, Benson Todd?
Speaker 4 (11:34):
Well, what does it matter anyway? It's just another drama.
Speaker 5 (11:36):
Review, my dear Jerry. That's the whole point. This isn't
just another drama review tonight? It's news. I'll come good, Lord,
don't you read the papers? Vaughan Courtney opens and Nick
deest tonight?
Speaker 4 (11:49):
So what so?
Speaker 5 (11:49):
What's so? Everything? Headlines? League lights, fan paars autographs, Hollywood
in tights, Grandma Boy brings Bard the Broadway?
Speaker 2 (11:57):
Why to read the publicity?
Speaker 5 (11:58):
You'd think? Vaughan Courtney wrote me this.
Speaker 4 (12:00):
I'll bet Benson Todd is Bernie?
Speaker 5 (12:03):
Is he ever a Hollywood movie hero daring to appear
on the New York stage in Shakespeare? You can imagine?
Speaker 4 (12:09):
What does he say about him?
Speaker 5 (12:10):
Oh, something to the effect that of Macbeth's were never
a tragedy before? It most certainly would be tonight?
Speaker 4 (12:15):
Is that all all he can do? Better than that?
Speaker 5 (12:17):
I think he's saving the barrage for his review.
Speaker 4 (12:20):
It should make rather spirited reading.
Speaker 5 (12:22):
If he ever gets here to write it. What's the
time now?
Speaker 4 (12:24):
Oh, relax, he'll turn up.
Speaker 5 (12:25):
Well, he'd better, That's all I can say. He's in
bad enough at the front office now if he misses
this deadline. I hate to think what will happen?
Speaker 2 (12:46):
Good evening, mister tomber Johnson got a table his son?
How many are there just myself.
Speaker 1 (12:51):
How would you like the corner in the bark?
Speaker 2 (12:53):
This ways up? Will this one do some perfectly?
Speaker 4 (13:08):
Oh?
Speaker 2 (13:08):
By the way, sir, You're office telephoned Miss Robbins. She
seemed very anxious to get in touch with you. Should
I have an extension connected?
Speaker 8 (13:15):
No, thanks, I'll see about it later. Just bring me
a double scotch with very little eyes and very little water.
Speaker 2 (13:21):
Very good time, make it too, john.
Speaker 4 (13:25):
Oh? Hello, hello?
Speaker 9 (13:27):
Mind if I join you?
Speaker 2 (13:29):
Not at all too Johnson?
Speaker 9 (13:31):
Yes, sir, well glad to see me.
Speaker 4 (13:35):
Should I be?
Speaker 9 (13:36):
I'm not quite sure. I haven't seen much of you lately.
Speaker 2 (13:40):
No, I've been too busy to food. Now look, Wendy,
if you're going to start, I'm sorry.
Speaker 9 (13:46):
How did the opening go?
Speaker 2 (13:47):
Which one?
Speaker 13 (13:48):
Well?
Speaker 9 (13:48):
Tonight like that, wasn't it?
Speaker 13 (13:50):
So?
Speaker 9 (13:51):
I'd love to see it.
Speaker 2 (13:53):
I can't imagine.
Speaker 9 (13:54):
Well, i've never seen Van Courtney except on the screen.
Speaker 2 (13:56):
I should have thought that was more than sufficient.
Speaker 9 (13:58):
But I've always liked him in picture.
Speaker 2 (14:01):
What it's French, Wendy. It means everyone to his own taste.
Speaker 9 (14:06):
Terribly hard to please, aren't you?
Speaker 5 (14:09):
By the way.
Speaker 13 (14:10):
Friedman's new show goes into rehearsal on Monday, yes, I know.
I went round to his office yesterday. Well, well no,
I couldn't get into seams. They said they'd never heard
of me, should they have? Well, yes, after all, you
said you'd fix.
Speaker 12 (14:24):
It for me.
Speaker 2 (14:26):
I said what you said you'd fix it for me?
Speaker 5 (14:29):
About getting a part on me?
Speaker 2 (14:30):
My dear girl, I did nothing of the sort.
Speaker 9 (14:31):
But of course you did, don't you remember you promised?
Speaker 2 (14:34):
But you can't go back just a minute, Wendy. I
take it you feel I'm under some sort of obligation
to you. Is that it?
Speaker 9 (14:41):
Well no, not exactly, but you did say you'd speak
to Friedman.
Speaker 8 (14:45):
You seem to forget that I'm a drama critic, not
an actor's agent, Benson. My function is reviewing the stage,
not peppering it with aspiring engine use from Minnesota. You
promise if you take my advice, Wendy, you'll just forget
the whole incident.
Speaker 5 (15:00):
I see.
Speaker 2 (15:02):
Here.
Speaker 4 (15:02):
I have a good night, No, thank you.
Speaker 8 (15:04):
I don't want one.
Speaker 2 (15:06):
I don't want anything you sept apart from Freedman show.
Speaker 9 (15:11):
That's a pretty rotten thing to say.
Speaker 2 (15:13):
But true. By the way, why don't you try your
whiles on Freedman.
Speaker 9 (15:17):
I wouldn't have believed you could be so completely careleous.
Speaker 2 (15:20):
You'll have to work fast though. He goes into rehearsal
on Monday.
Speaker 9 (15:22):
Remember I won't be here on Monday, going somewhere.
Speaker 2 (15:26):
Yes, we're in Minnesota.
Speaker 9 (15:29):
I didn't think.
Speaker 2 (15:30):
So we'll have a nice trip.
Speaker 5 (15:32):
Thank you.
Speaker 9 (15:34):
Why I guess that's my exit cue.
Speaker 2 (15:38):
You should know you claim to be an actress.
Speaker 9 (15:42):
Yes, well, goodbye, mister tuk.
Speaker 2 (15:46):
Goodbye one day. That'll lot next time. Yeah, you are,
thank you Johnson. I'll take them both. Oh, yes, sir,
isn't the young lady coming back? I hardly think, Sir Johnson,
I hardly think so. Well, well, well, if.
Speaker 8 (16:14):
It isn't fancy boy Todd himself. Hello, Max, how's the
world's greatest producer? I aren't sure at the opening when
they let you in? Unfortunately, yes, worked out on it.
One act was planted.
Speaker 2 (16:28):
You know you got a lot of nerve tied.
Speaker 8 (16:30):
So have you judging by that last little stinkle of yours?
Oh yeah, what makes you think you can review a
show like Macbeth when you only see the first act?
My dear Max, it isn't necessary to eat a whole
egg to find out it's putrid.
Speaker 2 (16:45):
Very funny, or to use that sometimes. I probably will.
When is your next production? What do you care you
won't get in to see it?
Speaker 5 (16:53):
Oh?
Speaker 2 (16:54):
Still licking your wounds? Eh, you can call it that
if you like. What's the matter, Max? Don't you take
it anymore? Sure?
Speaker 10 (17:01):
Sure, I can take it if I have to, But
I don't have to take the kind of shmow wise
cracks you hand out.
Speaker 4 (17:08):
Yes, I do say.
Speaker 10 (17:09):
You know you're gonna wake up and find yourself looking
for a new sheet one of these days, Todd, And
you can take it from me. There are plenty of
guys around town will make a point of seeing you
don't find one.
Speaker 2 (17:19):
I see you know nights. I believe I've been underrating you,
I'll say, yes.
Speaker 8 (17:26):
I've always maintained you couldn't possibly be as vulgar as
one of your productions.
Speaker 2 (17:31):
Apparently I was wrong?
Speaker 4 (17:33):
Were you don't? Okay?
Speaker 5 (17:35):
Todd?
Speaker 4 (17:36):
Do you vest for at once to open?
Speaker 5 (17:52):
But where on earth do you suppose it can be?
Speaker 4 (17:54):
Look, you've asked me that fourteen times and I still
don't know the answer.
Speaker 5 (17:58):
It should have been here a half hour ago.
Speaker 4 (18:00):
But there's no need to get yourself into a dither
about it. It won't be the first time he's missed
the deadline.
Speaker 5 (18:03):
No, but it may be the last. And if he
gets the AX, i'll probably get.
Speaker 2 (18:07):
It too good.
Speaker 1 (18:08):
Then you can marry me.
Speaker 4 (18:10):
We'll buy a nice little rose covered cottage in Brooklyn
and live happily ever after.
Speaker 5 (18:14):
Oh, go to ah, there he is Hello? Yeah? Oh, no, No,
he's not well. I couldn't say for sure. He's supposed
to be here. Now, is there any message? Well? Who
shall I say? Was calling? Hello? Hello? You know that's funny.
(18:39):
That's the third time she's phoned in the last hour.
I don't know, some woman.
Speaker 4 (18:43):
Oh, what's so funny about it?
Speaker 5 (18:44):
Nothing? Only each time I ask her who's calling? She
hangs up on me.
Speaker 4 (18:48):
Very discreet. I'd say, just the same.
Speaker 5 (18:50):
I'd like to know what goes on.
Speaker 4 (18:52):
Probably one of our critical colleagues girlfriends. I'm totally leads
a pretty shady love line.
Speaker 5 (18:58):
I gather, you don't altogether a mister Todd, you gather correctly.
Speaker 4 (19:02):
For my money, he's a great a jerk.
Speaker 5 (19:04):
You'll have to admit, he's a great a critic.
Speaker 4 (19:05):
Nuts, he's a lousy critic. Oh, I say so, And
of course no, not necessarily, but I. Well, I certainly
can't have any use for a critic who despises the
theater as much as Todd.
Speaker 5 (19:16):
Does despises the theater. Whatever gave you that idea?
Speaker 4 (19:18):
Well, isn't it obvious he pans every place?
Speaker 13 (19:20):
He?
Speaker 5 (19:20):
Oh, come, now, of course he does.
Speaker 4 (19:23):
I've never read a review of his yet that didn't
play the hide off the offer, insult the actors, a
snare at the producer.
Speaker 5 (19:28):
Maybe they deserve it, but that's not the point. For
what is the point?
Speaker 4 (19:31):
Simply that the critics should be constructive, not destructive? Oh
my god, Well, it's true. Critics' job is to contribute
something to the theater, not sit back and make cheat
cracks at it. After all, it doesn't take any great
brain to write the sort of stuff Todd does. Any
fool can.
Speaker 5 (19:43):
Jeer, including yourself.
Speaker 4 (19:45):
Si oh, for the love of Pete. The female mind?
What I said, the female mind? Why is it that
a woman can never discuss any subject for three minutes
without making a personal issue of it.
Speaker 5 (19:55):
For exactly the same reason that a man can never
discuss any subject of three minutes without being patronizing about it.
Speaker 4 (20:01):
I'm not being anything the kind. I simply stated that
a dramatic critic should be constructive and not daystru.
Speaker 5 (20:06):
And I simply stay that you don't know what you're
talking about. Oh, shut up, I said, shut up.
Speaker 4 (20:14):
Look here, Marget, there's.
Speaker 5 (20:15):
Mister Todd quick handing my pencil. Please all right, please
come on give it to me. Hello what No, it's
not well, I haven't got it yet. Mister Todd hasn't
come in. I don't know, but all right, you don't
have to yell at me. It's not my fault. Yes,
I heard you. Okay, you'll get Todd's copy as soon
(20:38):
as it's ready. Oh yes, he's raising the roof, Jerry.
He's not kidding. They're holding space. I've got to do something.
Speaker 4 (20:47):
Well, I guess there's only one thing you can do.
Write the review yourself.
Speaker 5 (20:52):
Don't be fun.
Speaker 4 (20:54):
Oh I'm serious. If Sloan's yelling for copy and Todd's
not here, somebody's gonna write it.
Speaker 5 (20:57):
Well, it won't be me.
Speaker 4 (20:58):
I can tell you that, right, I will get your pencil.
I'll dictator. Look, just a minute's time to waste sloans.
Speaker 5 (21:05):
Wait, Jerry, this is crazy. Jerry will never get away
with it.
Speaker 4 (21:09):
Come on, come on, make with a pencil.
Speaker 5 (21:11):
Oh okay, my impetuous young friend. But don't say I
didn't want you.
Speaker 4 (21:15):
Are you ready?
Speaker 5 (21:17):
Yes, I'm ready.
Speaker 4 (21:18):
Okay, let's see where's the playing the goat?
Speaker 8 (21:23):
Uh?
Speaker 4 (21:25):
Take this? Have the immortal Bard been.
Speaker 2 (21:28):
Present to the Gotham Theater to night he would have he?
Speaker 4 (21:33):
No, no change that. Try this it is perhaps Wait.
Speaker 5 (21:37):
A minute, I think I've got it the opening sentence listen.
Shakespeare wrote Macbeth as a tragedy, but tonight on the
stage of the Gotham Theater it emerged as a comedy.
How's that brilliant?
Speaker 8 (21:49):
Oh?
Speaker 2 (21:50):
I wish i'd said it.
Speaker 5 (21:53):
Oh, why, mister Tata, I didn't hear you come in?
Speaker 2 (21:56):
Perhaps I should have not.
Speaker 5 (21:57):
Well, I've been trying all over town to find you,
I mean by telephone. I was afraid you've forgotten me.
Speaker 2 (22:03):
Early deadline, very considerate.
Speaker 4 (22:05):
Excuse me, mister Todd. Your your mouth is pleasing.
Speaker 2 (22:08):
I'm quite aware of that fact.
Speaker 4 (22:09):
Thank you.
Speaker 2 (22:10):
And just what may I ask?
Speaker 4 (22:12):
Are you doing? Help? Well? I was just helping Marsha,
I mean miss Robbins. We thought if you didn't turn up,
we might get your copy ready.
Speaker 8 (22:19):
Really well, when I require your services and this department,
I'll let you know.
Speaker 2 (22:24):
In the meantime, I'll thank you.
Speaker 4 (22:26):
To get out of my office and stay out of
it now just a minute talk, Yes, I heard you. Please, Okay,
I'm going, But someday this paper is going to get
wise you and close the door behind you.
Speaker 8 (22:42):
And now, miss Robbins, if you have no objection, I
should like to express my opinion of tonight's opening in
my own words. Play comes entirely meaningless through the garbled
(23:02):
mouthings and idiotic posturings of this presumptuous Hollywood heart.
Speaker 4 (23:07):
Frobiod see who the devil that is and tell him
I'm out?
Speaker 5 (23:12):
Hello? Who's calling? Please? Just a moment. If missus Vaughn
caught me, she seems Robert.
Speaker 2 (23:19):
Fat give me that.
Speaker 8 (23:22):
Missus Courtney, you've already bothered me quite enough for one evening.
Now in the vernacula of the pool room, will you
and your husband please go away somewhere and drop dead?
Speaker 2 (23:33):
Where was I?
Speaker 13 (23:35):
Uh?
Speaker 5 (23:36):
Idiotic posturings of this presumptuous Hollywood heart rub ah.
Speaker 1 (23:40):
Yes.
Speaker 8 (23:42):
In fact, mister Vaughan, Courtney's Macbeth is unquestionably the worst
performance of that role it has ever been my misfortune
to witness on any professional stage, either.
Speaker 9 (23:54):
Here or.
Speaker 4 (24:00):
In fact, mister Vaughan Courtney's Macbeth is unquestionably the worst
performance of that role it has ever been my misfortune
to witness on any professional stage, either here or abroad.
My gosh, Masha, how can you write that stuff?
Speaker 5 (24:16):
I shouldn't think you'd be bothered reading it after the
way he kicked you out of the office tonight.
Speaker 4 (24:20):
Yeah, that trip still, I've I've got to admit the
guy does have style. Just just listen to this oyatka.
In the second soliloquy, Macbeth appeared to be coping not
so much with the pangs of an uneasy conscience as
with the twinges of a faulty intestine. Yep, well please, Jerry.
Speaker 5 (24:41):
I've heard it once tonight, and I don't think it's
either clever or.
Speaker 4 (24:43):
Amusing, says, what's the matter with you anyway? Oh?
Speaker 5 (24:47):
Nothing, just tired, I guess.
Speaker 4 (24:49):
Yeah, it's kindly one with the other papers are out here? Well,
I'd like to see what the other critics say. HELLOI
got any morning papers there?
Speaker 8 (25:00):
Yeah?
Speaker 12 (25:00):
I got a news just came in.
Speaker 4 (25:01):
Let's see it wants some more coffee, honey.
Speaker 2 (25:04):
Hey, that's too bad about that movie?
Speaker 4 (25:06):
Guy. What movie guy us here on the front page?
Actor dies on stage?
Speaker 5 (25:15):
What's that?
Speaker 9 (25:15):
Who?
Speaker 4 (25:16):
Vaughan Courtney?
Speaker 5 (25:18):
You're kidding?
Speaker 4 (25:19):
No, look.
Speaker 5 (25:21):
Vaughn Courtney, Hollywood filmsd died tonight in the stage wings
of the Goten.
Speaker 4 (25:26):
Oh no, that's too bad. Yeah, yeah, it says stricken
with a cute appendicitis. During the first performance of Macbeth,
the idol of movie going millions, collapsed before a horrified
first night audience and was carried from the stage by
members of his company. When did it happen right in
(25:47):
the middle of the show during the third acd.
Speaker 5 (25:49):
Brother, this is the payoffs? Todd's really done at this time?
He wasn't even there, Holy.
Speaker 4 (25:53):
Cat, But he reviewed the whole show exactly. Oh my
aching back. Will this raise a stink?
Speaker 2 (25:57):
Wait?
Speaker 4 (25:58):
Will the chief read that bit about the faulty and.
Speaker 5 (26:00):
Tested totally reads the last paragraph?
Speaker 4 (26:02):
Why what does that say?
Speaker 5 (26:03):
Read it yourself?
Speaker 2 (26:05):
All right?
Speaker 4 (26:06):
Since the text has been so obviously mutilated to veil
the star's shortcomings as an actor, we can only regret
that they didn't follow through. Why prolonged Macbeth's demise for
five acts? Mister Courtney would have done us all a
great favor had he arranged to meet his maker in
(26:28):
the middle of the second see what I mean, Holy
suffering cow.
Speaker 5 (26:42):
Well that's the story. Not exactly an edifying tale, but
I think if you scratch between the lines a bit,
you'll detect a certain moral tinge. At any rate, if
I ever get around to writing that book about Benson Todd,
I'll certainly include it. However, the likelihood of that is
rather slim. I'm afraid, for one thing, Jerry threatens to
(27:05):
divorce me unless I spend a little more time with him,
And for another, well being the new dramatic critic for
The Chronicle keeps me pretty done busy these nights.
Speaker 2 (27:16):
Believe me.
Speaker 13 (27:35):
Done.
Speaker 1 (27:45):
You have just heard Deadline Attraction twenty seven on Radio
City Playhouse. Deadline was written by John Bethune and the
production was directed by Harry W.
Speaker 4 (27:55):
Duncan.
Speaker 1 (27:56):
Claudia Morgan played Marsha Robbins. Paul Newton was Benson Todd,
Bernard Grant was Jerry. Other members of the cast included
Charlotte Holland, Marilyn Erskine, Bob Dryden, Eugene Francis, and Steve Gellers.
The music was composed and conducted by doctor Roy Shield.
(28:17):
Radio City Playhouse is supervised for the National Broadcasting Company
by Richard P.
Speaker 4 (28:21):
McDonough.
Speaker 3 (28:43):
This is Harry Jonkan again. Next week a radical and
complete departure from our regular format. We're sure you will
be charmed and delighted with two moods from the past,
a type of radio entertainment we have never attempted on
Radio City Playhouse. Next week, it's a fraction twenty eight.
Good night, everybody.
Speaker 1 (29:27):
This program came to you from New York. Bob Warren speaking.
This is NBC, the National Broadcasting Company.
This is Radio City Playhouse. Ladies and gentlemen, here's the
(00:26):
director of Radio City Playhouse, Harry W.
Speaker 2 (00:29):
Duncan thank you, Bob Warren. Friends.
Speaker 3 (00:31):
This week we are honored to present a young author
new to Radio City Playhouse, mister John Bethune b E.
Speaker 4 (00:37):
T h U n E. Bethune.
Speaker 3 (00:40):
It is a name we think you will do well
to watch because for brittle and penetrating radio writing, mister
Bethune is in a class by himself. We hope to
present more of his work in the very near future.
The name of our play is Deadline and stars Claudia
Morgan as Marsha Robbins, Paul Nugent as Benson Todd, and
Bernard my grant is Jerry Deadline by John Bethune. Attraction
(01:04):
twenty seven on Radio City Playhoffs.
Speaker 5 (01:35):
Hello, Sphinx Club. Can I speak to Louis in the bar? Please?
What's he doing? Hello Louis? This is Marsha Robins, Marsha Robins,
Benson Todd's secretary. Yes, listen, has mister Todd been in tonight? Well,
if he comes in during the next half hour, will
you tell him I called Louis. It's very important. I
(01:56):
think he's forgotten something, and it's very urgent that I
get hold of him. All right, thanks, goodbye. That's the
way the story began, me chasing Bencentad all over town.
(02:17):
Perhaps you wonder why I don't write a book about Bencentdd. Well,
it's a fair enough question. A book dealing with one
of our more outrageous drama critics would be bound to
have a certain celebrity value of nothing else, and as
a study in advance to megalomania, it might even have
a certain clinical value. But unfortunately it's not quite as
(02:38):
simple as that. In the first place. Having spent five
hair raising years as Benentdd's personal secretary, I find it
rather difficult to viewing with the proper detachment and reverence
of a good biographer. I wouldn't dare write a book
about him, fictional or otherwise. However, there is one rather
(02:59):
illuminating episode in the saga of ventent Todd which I
think I can safely repeat. It happened only last season
on that now famous evening when the Vaughan caught Me
production of Macbeth opened on Broadway. Perhaps you remember it
was a Forgotham theater.
Speaker 6 (03:19):
Will it not be received when we have marked with
blood those sleepy two of his own chamber, and use
their very daggers that they have done it.
Speaker 7 (03:30):
Who dares receive an others as we shall make our
griefs and clamor roar upon his death.
Speaker 6 (03:37):
I am settled and bend up each corporation to this
terrible feat away, and much the time with fairest show.
Speaker 4 (03:50):
Fall's face must hide.
Speaker 2 (03:53):
What's the false heart?
Speaker 8 (03:55):
That?
Speaker 2 (03:56):
No snouting in the.
Speaker 9 (04:17):
Snogging in the hobby?
Speaker 5 (04:19):
My dear, isn't it thrilling?
Speaker 10 (04:20):
Marvelous?
Speaker 5 (04:21):
Simply won?
Speaker 4 (04:22):
I'll give you on it doesn't run away?
Speaker 5 (04:24):
Well, someone gave Bridge something some We've seen everything else,
But didn't you love the dirty old ladies with beers.
Speaker 2 (04:30):
It may be hot stuff in the movies, but on
the stage, Oh brother, but you.
Speaker 5 (04:34):
Must admit his beautiful.
Speaker 4 (04:37):
Because beer another good thing. Shakespeare never lived to see it.
Speaker 5 (04:41):
I can't wait to read the.
Speaker 9 (04:42):
Critical goes one of them now, Benson Todd just going
out the door.
Speaker 4 (04:49):
Bencing today. Boy, I'll bet he gives it a roasting.
Speaker 1 (04:52):
Brother.
Speaker 7 (04:52):
You can say that again, mister mister Wait a minute tree,
excuse me, mister.
Speaker 2 (04:59):
T It happened, by any chance to be speaking to me.
Speaker 9 (05:02):
Yes, yes, I am.
Speaker 7 (05:03):
I I saw you leaving in the theater and I
want to have a word with you. What about Well,
I don't blame you for leaving, mister Todd.
Speaker 2 (05:10):
One act of this thing is plenty, mister Todd.
Speaker 7 (05:12):
I'm missus Vaughan Courtney. Really, I don't blame you for leaving,
mister that once, but I just wanted to explain.
Speaker 8 (05:19):
Moments, Courtney. Did your husband notice my leaving? Did he
send you out to way lamey and.
Speaker 5 (05:24):
Asking me notic you leaving?
Speaker 9 (05:26):
And he'd be furious if he knew that.
Speaker 8 (05:27):
Then I suggest you go back into the theater before
he finds out you're asking me to change my opinion
of his performance.
Speaker 7 (05:33):
I wouldn't think of asking you to alter your opinion,
mister Todd. I know quite well that Vaughn is inadequate tonight.
Speaker 8 (05:40):
Inadequate, My dear missus Courtney, your husband's acting this evening
is inexcusable.
Speaker 7 (05:45):
No, no, not altogether. That's why I followed you out.
You see, mister Todd, for the past few days, Vaughn
hasn't been at all well. In fact, his doctor ordered
him not to go on tonight.
Speaker 2 (05:55):
Then why did he well he had to.
Speaker 7 (05:57):
All the publicity was out, and the advance said, well
that names Vaughn insisted that he goes through with it,
but his stomach's been upset all afternoonly feels wretched and well,
if the opening could only have been postponed a couple
of days, I know one could do a splendid my.
Speaker 2 (06:11):
Dear missus Courtney, this is no concern of mind.
Speaker 7 (06:15):
Yes, yes, I realize that, But mister tidd if you
could just mention something in your review, just a sentence
explaining that Vaughn felt so wretched and had a temper.
Speaker 2 (06:25):
Missus Courtney, I'm about to proceed to my favorite bar
and write a review.
Speaker 8 (06:31):
I have no intention of turning it into a medical report.
It's a matter of supreme indifference to me whether your
husband is suffering from Chilblain's hydrophobia, galloping consumption of opposite.
He's giving an outrageously bad performance of a magnificent role,
and I fully intend to say so good night.
Speaker 7 (06:47):
No, no, please, please, mister Tidier. You don't understand what
this production means to him. It's not just a publicity
stunned in.
Speaker 5 (06:55):
Spite of what people think. V's or Vaughn feels very
deeply about acting.
Speaker 9 (06:59):
He's been studying and planning this night for years.
Speaker 7 (07:02):
It's terribly important to I mean, well, if you were
an actor, you'd understand, now, mister Todd. Couldn't you possibly
come again tomorrow night or the night after?
Speaker 5 (07:11):
I know you'd feel that born with.
Speaker 2 (07:13):
Mister Courtney, I have a deadline to meet.
Speaker 8 (07:16):
You'll have to excuse me. A firtle lobby is no
place to stage your sob scene.
Speaker 11 (07:19):
So if you don't want I should have known that.
Good night, evening, mister Todd.
Speaker 4 (07:43):
Evening guys, I thought you were covering Macbeth tonight.
Speaker 2 (07:46):
One act was as much as I could stand.
Speaker 4 (07:48):
That's so hard. Huh, Well, what will be?
Speaker 2 (07:51):
Same as usual? Please?
Speaker 5 (07:53):
No?
Speaker 2 (07:53):
Better make it a double I beg your pardon.
Speaker 12 (07:57):
Share but uh you're Benson Todd, aren't you?
Speaker 5 (08:02):
Yes?
Speaker 2 (08:03):
Why I thought so?
Speaker 12 (08:05):
I wasn't quite sure. Yes, I hope you don't mind
my budding in like this. But my name is Edgar Fish.
You have my sympathy, thank you. I mean, yes, mister Todd.
(08:25):
I've just been reading your new book.
Speaker 2 (08:27):
You know criteria I seem to recall it. I just
want to say, how much I enjoyed it, thank you.
Speaker 13 (08:32):
Yes.
Speaker 12 (08:33):
As a matter of fact, I think it's the best
book on the American theater that I've ever read.
Speaker 2 (08:37):
Oh yes, yes, I read through it twice. Didn't you
understand it the first time? What?
Speaker 9 (08:42):
Oh?
Speaker 12 (08:42):
Yes, yes, I understood it all right, although there were
one or two points where I didn't quite see eye
to eye with you.
Speaker 5 (08:51):
Yes.
Speaker 12 (08:52):
For instance, in your chapter on the Catharsis of Comedy,
you said that Shakespeare's idea of comedy is insulting to
an intelligence. Oh yes, yes, very pointedly, don't you remember?
Of course, I'll grant you that the values of comedy
are transgent, but the basic elements of comedy haven't changed. Well,
(09:13):
that's why I feel it, my.
Speaker 8 (09:15):
Dear young man. Yes, oh nothing, never mind, gus take
my check out of this.
Speaker 12 (09:20):
Oh, mister Todd, you're not leaving.
Speaker 2 (09:22):
I am, indeed, but I wanted to ask your opinion.
I never express opinions unless I'm paid for it. But
mister Todd, thank you.
Speaker 4 (09:29):
Good night. Guys.
Speaker 8 (09:29):
Can I think but, mister Todd, you young man, the
fact that you happen to have read one of my
books does not constitute an introduction, though, does it?
Speaker 2 (09:38):
Entitle you to bore the pants off me.
Speaker 4 (09:40):
Good night.
Speaker 5 (09:52):
Hello store club, This is Marsha Robbins of the Morning
Chronicle speaking. Can you tell me mister Todd's there? No, no, no,
no to god Benson Todd. That's right. Well would you
find out please? It's very important. Yes, I'll hold on.
Come in beautiful, Oh, Jerry, Well take your flesh somewhere else.
(10:15):
I'm busy.
Speaker 4 (10:16):
Oh come now, sat a way to welcome the man
you love.
Speaker 5 (10:19):
Please, Jerry, I'm in no mood for fun and games plenty.
We go to press early tonight. Well, what so I
haven't gotten mister Todd's copy yet? Why not because he
hasn't come in yet, you dope?
Speaker 4 (10:30):
Okay, okay, don't have to bite my head off.
Speaker 5 (10:32):
Well, don't ask me stupid questions.
Speaker 4 (10:33):
Not asking stupid questions.
Speaker 5 (10:35):
Hello, Yes, he isn't well, has her reservation? I see? Well,
look if he comes in during the next few minutes,
would you ask him to call his office?
Speaker 2 (10:48):
Yes?
Speaker 5 (10:48):
Please, as soon as he comes in. Thanks very much.
Good night.
Speaker 4 (10:52):
What's the matter? Has the critical mind going on the
bat again?
Speaker 5 (10:55):
I don't know, but wherever he's gone, he's certainly hidden
his track.
Speaker 4 (10:58):
Well, if he's covering a play. He could gone asleep.
It's happened before I know.
Speaker 5 (11:01):
But I've checked the theater. He left at the end
of the first height, wouldn't you're not? And I'm hanged
if I can find out where he went?
Speaker 4 (11:07):
Is the rabar near the theater?
Speaker 5 (11:08):
I've tried every brass rail on the forties?
Speaker 4 (11:10):
How about the fifties?
Speaker 5 (11:11):
Well, that's what I'm doing. Now, what's El Morocco's number?
Speaker 4 (11:13):
How would I know? I'm a reporter and not a columnist.
Speaker 5 (11:15):
Well look at that for me, will you. I'm going
to try the partment again.
Speaker 4 (11:17):
Wait a minute, waitait.
Speaker 5 (11:18):
Please, I've got to find I know.
Speaker 4 (11:20):
But listen, if he's left his review till this lady
who most likely folded in, won't he Well he doesn't
usually no, But if he does, and you're on the
wire all the time, how is he going to get
it through?
Speaker 5 (11:27):
I'm supposing he's forgotten all about the early deadline.
Speaker 4 (11:29):
Supposing he has.
Speaker 2 (11:30):
It's not your fault, Oh, isn't it?
Speaker 5 (11:32):
You don't know, Benson Todd?
Speaker 4 (11:34):
Well, what does it matter anyway? It's just another drama.
Speaker 5 (11:36):
Review, my dear Jerry. That's the whole point. This isn't
just another drama review tonight? It's news. I'll come good, Lord,
don't you read the papers? Vaughan Courtney opens and Nick
deest tonight?
Speaker 4 (11:49):
So what so?
Speaker 5 (11:49):
What's so? Everything? Headlines? League lights, fan paars autographs, Hollywood
in tights, Grandma Boy brings Bard the Broadway?
Speaker 2 (11:57):
Why to read the publicity?
Speaker 5 (11:58):
You'd think? Vaughan Courtney wrote me this.
Speaker 4 (12:00):
I'll bet Benson Todd is Bernie?
Speaker 5 (12:03):
Is he ever a Hollywood movie hero daring to appear
on the New York stage in Shakespeare? You can imagine?
Speaker 4 (12:09):
What does he say about him?
Speaker 5 (12:10):
Oh, something to the effect that of Macbeth's were never
a tragedy before? It most certainly would be tonight?
Speaker 4 (12:15):
Is that all all he can do? Better than that?
Speaker 5 (12:17):
I think he's saving the barrage for his review.
Speaker 4 (12:20):
It should make rather spirited reading.
Speaker 5 (12:22):
If he ever gets here to write it. What's the
time now?
Speaker 4 (12:24):
Oh, relax, he'll turn up.
Speaker 5 (12:25):
Well, he'd better, That's all I can say. He's in
bad enough at the front office now if he misses
this deadline. I hate to think what will happen?
Speaker 2 (12:46):
Good evening, mister tomber Johnson got a table his son?
How many are there just myself.
Speaker 1 (12:51):
How would you like the corner in the bark?
Speaker 2 (12:53):
This ways up? Will this one do some perfectly?
Speaker 4 (13:08):
Oh?
Speaker 2 (13:08):
By the way, sir, You're office telephoned Miss Robbins. She
seemed very anxious to get in touch with you. Should
I have an extension connected?
Speaker 8 (13:15):
No, thanks, I'll see about it later. Just bring me
a double scotch with very little eyes and very little water.
Speaker 2 (13:21):
Very good time, make it too, john.
Speaker 4 (13:25):
Oh? Hello, hello?
Speaker 9 (13:27):
Mind if I join you?
Speaker 2 (13:29):
Not at all too Johnson?
Speaker 9 (13:31):
Yes, sir, well glad to see me.
Speaker 4 (13:35):
Should I be?
Speaker 9 (13:36):
I'm not quite sure. I haven't seen much of you lately.
Speaker 2 (13:40):
No, I've been too busy to food. Now look, Wendy,
if you're going to start, I'm sorry.
Speaker 9 (13:46):
How did the opening go?
Speaker 2 (13:47):
Which one?
Speaker 13 (13:48):
Well?
Speaker 9 (13:48):
Tonight like that, wasn't it?
Speaker 13 (13:50):
So?
Speaker 9 (13:51):
I'd love to see it.
Speaker 2 (13:53):
I can't imagine.
Speaker 9 (13:54):
Well, i've never seen Van Courtney except on the screen.
Speaker 2 (13:56):
I should have thought that was more than sufficient.
Speaker 9 (13:58):
But I've always liked him in picture.
Speaker 2 (14:01):
What it's French, Wendy. It means everyone to his own taste.
Speaker 9 (14:06):
Terribly hard to please, aren't you?
Speaker 5 (14:09):
By the way.
Speaker 13 (14:10):
Friedman's new show goes into rehearsal on Monday, yes, I know.
I went round to his office yesterday. Well, well no,
I couldn't get into seams. They said they'd never heard
of me, should they have? Well, yes, after all, you
said you'd fix.
Speaker 12 (14:24):
It for me.
Speaker 2 (14:26):
I said what you said you'd fix it for me?
Speaker 5 (14:29):
About getting a part on me?
Speaker 2 (14:30):
My dear girl, I did nothing of the sort.
Speaker 9 (14:31):
But of course you did, don't you remember you promised?
Speaker 2 (14:34):
But you can't go back just a minute, Wendy. I
take it you feel I'm under some sort of obligation
to you. Is that it?
Speaker 9 (14:41):
Well no, not exactly, but you did say you'd speak
to Friedman.
Speaker 8 (14:45):
You seem to forget that I'm a drama critic, not
an actor's agent, Benson. My function is reviewing the stage,
not peppering it with aspiring engine use from Minnesota. You
promise if you take my advice, Wendy, you'll just forget
the whole incident.
Speaker 5 (15:00):
I see.
Speaker 2 (15:02):
Here.
Speaker 4 (15:02):
I have a good night, No, thank you.
Speaker 8 (15:04):
I don't want one.
Speaker 2 (15:06):
I don't want anything you sept apart from Freedman show.
Speaker 9 (15:11):
That's a pretty rotten thing to say.
Speaker 2 (15:13):
But true. By the way, why don't you try your
whiles on Freedman.
Speaker 9 (15:17):
I wouldn't have believed you could be so completely careleous.
Speaker 2 (15:20):
You'll have to work fast though. He goes into rehearsal
on Monday.
Speaker 9 (15:22):
Remember I won't be here on Monday, going somewhere.
Speaker 2 (15:26):
Yes, we're in Minnesota.
Speaker 9 (15:29):
I didn't think.
Speaker 2 (15:30):
So we'll have a nice trip.
Speaker 5 (15:32):
Thank you.
Speaker 9 (15:34):
Why I guess that's my exit cue.
Speaker 2 (15:38):
You should know you claim to be an actress.
Speaker 9 (15:42):
Yes, well, goodbye, mister tuk.
Speaker 2 (15:46):
Goodbye one day. That'll lot next time. Yeah, you are,
thank you Johnson. I'll take them both. Oh, yes, sir,
isn't the young lady coming back? I hardly think, Sir Johnson,
I hardly think so. Well, well, well, if.
Speaker 8 (16:14):
It isn't fancy boy Todd himself. Hello, Max, how's the
world's greatest producer? I aren't sure at the opening when
they let you in? Unfortunately, yes, worked out on it.
One act was planted.
Speaker 2 (16:28):
You know you got a lot of nerve tied.
Speaker 8 (16:30):
So have you judging by that last little stinkle of yours?
Oh yeah, what makes you think you can review a
show like Macbeth when you only see the first act?
My dear Max, it isn't necessary to eat a whole
egg to find out it's putrid.
Speaker 2 (16:45):
Very funny, or to use that sometimes. I probably will.
When is your next production? What do you care you
won't get in to see it?
Speaker 5 (16:53):
Oh?
Speaker 2 (16:54):
Still licking your wounds? Eh, you can call it that
if you like. What's the matter, Max? Don't you take
it anymore? Sure?
Speaker 10 (17:01):
Sure, I can take it if I have to, But
I don't have to take the kind of shmow wise
cracks you hand out.
Speaker 4 (17:08):
Yes, I do say.
Speaker 10 (17:09):
You know you're gonna wake up and find yourself looking
for a new sheet one of these days, Todd, And
you can take it from me. There are plenty of
guys around town will make a point of seeing you
don't find one.
Speaker 2 (17:19):
I see you know nights. I believe I've been underrating you,
I'll say, yes.
Speaker 8 (17:26):
I've always maintained you couldn't possibly be as vulgar as
one of your productions.
Speaker 2 (17:31):
Apparently I was wrong?
Speaker 4 (17:33):
Were you don't? Okay?
Speaker 5 (17:35):
Todd?
Speaker 4 (17:36):
Do you vest for at once to open?
Speaker 5 (17:52):
But where on earth do you suppose it can be?
Speaker 4 (17:54):
Look, you've asked me that fourteen times and I still
don't know the answer.
Speaker 5 (17:58):
It should have been here a half hour ago.
Speaker 4 (18:00):
But there's no need to get yourself into a dither
about it. It won't be the first time he's missed
the deadline.
Speaker 5 (18:03):
No, but it may be the last. And if he
gets the AX, i'll probably get.
Speaker 2 (18:07):
It too good.
Speaker 1 (18:08):
Then you can marry me.
Speaker 4 (18:10):
We'll buy a nice little rose covered cottage in Brooklyn
and live happily ever after.
Speaker 5 (18:14):
Oh, go to ah, there he is Hello? Yeah? Oh, no, No,
he's not well. I couldn't say for sure. He's supposed
to be here. Now, is there any message? Well? Who
shall I say? Was calling? Hello? Hello? You know that's funny.
(18:39):
That's the third time she's phoned in the last hour.
I don't know, some woman.
Speaker 4 (18:43):
Oh, what's so funny about it?
Speaker 5 (18:44):
Nothing? Only each time I ask her who's calling? She
hangs up on me.
Speaker 4 (18:48):
Very discreet. I'd say, just the same.
Speaker 5 (18:50):
I'd like to know what goes on.
Speaker 4 (18:52):
Probably one of our critical colleagues girlfriends. I'm totally leads
a pretty shady love line.
Speaker 5 (18:58):
I gather, you don't altogether a mister Todd, you gather correctly.
Speaker 4 (19:02):
For my money, he's a great a jerk.
Speaker 5 (19:04):
You'll have to admit, he's a great a critic.
Speaker 4 (19:05):
Nuts, he's a lousy critic. Oh, I say so, And
of course no, not necessarily, but I. Well, I certainly
can't have any use for a critic who despises the
theater as much as Todd.
Speaker 5 (19:16):
Does despises the theater. Whatever gave you that idea?
Speaker 4 (19:18):
Well, isn't it obvious he pans every place?
Speaker 13 (19:20):
He?
Speaker 5 (19:20):
Oh, come, now, of course he does.
Speaker 4 (19:23):
I've never read a review of his yet that didn't
play the hide off the offer, insult the actors, a
snare at the producer.
Speaker 5 (19:28):
Maybe they deserve it, but that's not the point. For
what is the point?
Speaker 4 (19:31):
Simply that the critics should be constructive, not destructive? Oh
my god, Well, it's true. Critics' job is to contribute
something to the theater, not sit back and make cheat
cracks at it. After all, it doesn't take any great
brain to write the sort of stuff Todd does. Any
fool can.
Speaker 5 (19:43):
Jeer, including yourself.
Speaker 4 (19:45):
Si oh, for the love of Pete. The female mind?
What I said, the female mind? Why is it that
a woman can never discuss any subject for three minutes
without making a personal issue of it.
Speaker 5 (19:55):
For exactly the same reason that a man can never
discuss any subject of three minutes without being patronizing about it.
Speaker 4 (20:01):
I'm not being anything the kind. I simply stated that
a dramatic critic should be constructive and not daystru.
Speaker 5 (20:06):
And I simply stay that you don't know what you're
talking about. Oh, shut up, I said, shut up.
Speaker 4 (20:14):
Look here, Marget, there's.
Speaker 5 (20:15):
Mister Todd quick handing my pencil. Please all right, please
come on give it to me. Hello what No, it's
not well, I haven't got it yet. Mister Todd hasn't
come in. I don't know, but all right, you don't
have to yell at me. It's not my fault. Yes,
I heard you. Okay, you'll get Todd's copy as soon
(20:38):
as it's ready. Oh yes, he's raising the roof, Jerry.
He's not kidding. They're holding space. I've got to do something.
Speaker 4 (20:47):
Well, I guess there's only one thing you can do.
Write the review yourself.
Speaker 5 (20:52):
Don't be fun.
Speaker 4 (20:54):
Oh I'm serious. If Sloan's yelling for copy and Todd's
not here, somebody's gonna write it.
Speaker 5 (20:57):
Well, it won't be me.
Speaker 4 (20:58):
I can tell you that, right, I will get your pencil.
I'll dictator. Look, just a minute's time to waste sloans.
Speaker 5 (21:05):
Wait, Jerry, this is crazy. Jerry will never get away
with it.
Speaker 4 (21:09):
Come on, come on, make with a pencil.
Speaker 5 (21:11):
Oh okay, my impetuous young friend. But don't say I
didn't want you.
Speaker 4 (21:15):
Are you ready?
Speaker 5 (21:17):
Yes, I'm ready.
Speaker 4 (21:18):
Okay, let's see where's the playing the goat?
Speaker 8 (21:23):
Uh?
Speaker 4 (21:25):
Take this? Have the immortal Bard been.
Speaker 2 (21:28):
Present to the Gotham Theater to night he would have he?
Speaker 4 (21:33):
No, no change that. Try this it is perhaps Wait.
Speaker 5 (21:37):
A minute, I think I've got it the opening sentence listen.
Shakespeare wrote Macbeth as a tragedy, but tonight on the
stage of the Gotham Theater it emerged as a comedy.
How's that brilliant?
Speaker 8 (21:49):
Oh?
Speaker 2 (21:50):
I wish i'd said it.
Speaker 5 (21:53):
Oh, why, mister Tata, I didn't hear you come in?
Speaker 2 (21:56):
Perhaps I should have not.
Speaker 5 (21:57):
Well, I've been trying all over town to find you,
I mean by telephone. I was afraid you've forgotten me.
Speaker 2 (22:03):
Early deadline, very considerate.
Speaker 4 (22:05):
Excuse me, mister Todd. Your your mouth is pleasing.
Speaker 2 (22:08):
I'm quite aware of that fact.
Speaker 4 (22:09):
Thank you.
Speaker 2 (22:10):
And just what may I ask?
Speaker 4 (22:12):
Are you doing? Help? Well? I was just helping Marsha,
I mean miss Robbins. We thought if you didn't turn up,
we might get your copy ready.
Speaker 8 (22:19):
Really well, when I require your services and this department,
I'll let you know.
Speaker 2 (22:24):
In the meantime, I'll thank you.
Speaker 4 (22:26):
To get out of my office and stay out of
it now just a minute talk, Yes, I heard you. Please, Okay,
I'm going, But someday this paper is going to get
wise you and close the door behind you.
Speaker 8 (22:42):
And now, miss Robbins, if you have no objection, I
should like to express my opinion of tonight's opening in
my own words. Play comes entirely meaningless through the garbled
(23:02):
mouthings and idiotic posturings of this presumptuous Hollywood heart.
Speaker 4 (23:07):
Frobiod see who the devil that is and tell him
I'm out?
Speaker 5 (23:12):
Hello? Who's calling? Please? Just a moment. If missus Vaughn
caught me, she seems Robert.
Speaker 2 (23:19):
Fat give me that.
Speaker 8 (23:22):
Missus Courtney, you've already bothered me quite enough for one evening.
Now in the vernacula of the pool room, will you
and your husband please go away somewhere and drop dead?
Speaker 2 (23:33):
Where was I?
Speaker 13 (23:35):
Uh?
Speaker 5 (23:36):
Idiotic posturings of this presumptuous Hollywood heart rub ah.
Speaker 1 (23:40):
Yes.
Speaker 8 (23:42):
In fact, mister Vaughan, Courtney's Macbeth is unquestionably the worst
performance of that role it has ever been my misfortune
to witness on any professional stage, either.
Speaker 9 (23:54):
Here or.
Speaker 4 (24:00):
In fact, mister Vaughan Courtney's Macbeth is unquestionably the worst
performance of that role it has ever been my misfortune
to witness on any professional stage, either here or abroad.
My gosh, Masha, how can you write that stuff?
Speaker 5 (24:16):
I shouldn't think you'd be bothered reading it after the
way he kicked you out of the office tonight.
Speaker 4 (24:20):
Yeah, that trip still, I've I've got to admit the
guy does have style. Just just listen to this oyatka.
In the second soliloquy, Macbeth appeared to be coping not
so much with the pangs of an uneasy conscience as
with the twinges of a faulty intestine. Yep, well please, Jerry.
Speaker 5 (24:41):
I've heard it once tonight, and I don't think it's
either clever or.
Speaker 4 (24:43):
Amusing, says, what's the matter with you anyway? Oh?
Speaker 5 (24:47):
Nothing, just tired, I guess.
Speaker 4 (24:49):
Yeah, it's kindly one with the other papers are out here? Well,
I'd like to see what the other critics say. HELLOI
got any morning papers there?
Speaker 8 (25:00):
Yeah?
Speaker 12 (25:00):
I got a news just came in.
Speaker 4 (25:01):
Let's see it wants some more coffee, honey.
Speaker 2 (25:04):
Hey, that's too bad about that movie?
Speaker 4 (25:06):
Guy. What movie guy us here on the front page?
Actor dies on stage?
Speaker 5 (25:15):
What's that?
Speaker 9 (25:15):
Who?
Speaker 4 (25:16):
Vaughan Courtney?
Speaker 5 (25:18):
You're kidding?
Speaker 4 (25:19):
No, look.
Speaker 5 (25:21):
Vaughn Courtney, Hollywood filmsd died tonight in the stage wings
of the Goten.
Speaker 4 (25:26):
Oh no, that's too bad. Yeah, yeah, it says stricken
with a cute appendicitis. During the first performance of Macbeth,
the idol of movie going millions, collapsed before a horrified
first night audience and was carried from the stage by
members of his company. When did it happen right in
(25:47):
the middle of the show during the third acd.
Speaker 5 (25:49):
Brother, this is the payoffs? Todd's really done at this time?
He wasn't even there, Holy.
Speaker 4 (25:53):
Cat, But he reviewed the whole show exactly. Oh my
aching back. Will this raise a stink?
Speaker 2 (25:57):
Wait?
Speaker 4 (25:58):
Will the chief read that bit about the faulty and.
Speaker 5 (26:00):
Tested totally reads the last paragraph?
Speaker 4 (26:02):
Why what does that say?
Speaker 5 (26:03):
Read it yourself?
Speaker 2 (26:05):
All right?
Speaker 4 (26:06):
Since the text has been so obviously mutilated to veil
the star's shortcomings as an actor, we can only regret
that they didn't follow through. Why prolonged Macbeth's demise for
five acts? Mister Courtney would have done us all a
great favor had he arranged to meet his maker in
(26:28):
the middle of the second see what I mean, Holy
suffering cow.
Speaker 5 (26:42):
Well that's the story. Not exactly an edifying tale, but
I think if you scratch between the lines a bit,
you'll detect a certain moral tinge. At any rate, if
I ever get around to writing that book about Benson Todd,
I'll certainly include it. However, the likelihood of that is
rather slim. I'm afraid, for one thing, Jerry threatens to
(27:05):
divorce me unless I spend a little more time with him,
And for another, well being the new dramatic critic for
The Chronicle keeps me pretty done busy these nights.
Speaker 2 (27:16):
Believe me.
Speaker 13 (27:35):
Done.
Speaker 1 (27:45):
You have just heard Deadline Attraction twenty seven on Radio
City Playhouse. Deadline was written by John Bethune and the
production was directed by Harry W.
Speaker 4 (27:55):
Duncan.
Speaker 1 (27:56):
Claudia Morgan played Marsha Robbins. Paul Newton was Benson Todd,
Bernard Grant was Jerry. Other members of the cast included
Charlotte Holland, Marilyn Erskine, Bob Dryden, Eugene Francis, and Steve Gellers.
The music was composed and conducted by doctor Roy Shield.
(28:17):
Radio City Playhouse is supervised for the National Broadcasting Company
by Richard P.
Speaker 4 (28:21):
McDonough.
Speaker 3 (28:43):
This is Harry Jonkan again. Next week a radical and
complete departure from our regular format. We're sure you will
be charmed and delighted with two moods from the past,
a type of radio entertainment we have never attempted on
Radio City Playhouse. Next week, it's a fraction twenty eight.
Good night, everybody.
Speaker 1 (29:27):
This program came to you from New York. Bob Warren speaking.
This is NBC, the National Broadcasting Company.
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